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    Description

    Velvet Underground Early US Version Of And Nico 1966 Acetate LP (XTV-122402, 1966). The Scepter Acetate offered here is reputed to be the better of only two known copies (the other is believed to be in the possession of Velvets' drummer, Moe Tucker). It was found by chance at a New York City street sale in 2004 where it changed hands for 75ยข.
    Warhol's goal was to record the entire first Velvet Underground album before they were signed to a recording contract, leaving the recording free from label executives' tampering and influence. With its groundbreaking style and "taboo" lyrical content, this was to be the Velvets at their purest.
    At Scepter Studios in New York in April 1966, The Velvet Underground recorded the contents of the acetate with Norman Dolph and John Licata full-time, and with Warhol part-time. Dolph took the master tapes from these sessions and, in secret, used Columbia Records pressing equipment to make an acetate that he then submitted to Columbia for consideration of release. As legend has it, it was promptly returned, accompanied by a note that Dolph has described as essentially, "Do you think we're out of our minds?"
    The track differences between the acetate versions and the commercial recordings on "The Velvet Underground & Nico" are detailed as follows:
    1. "European Son" - completely different version. Guitar solo is much bluesier. Less noisy and experimental. Longer by 2 minutes or so.
    2. "Black Angel's Death Song" - Same take as released version. Different mix.
    3. "All Tomorrow's Parties" - Same take as released version. Different mix.
    4. "Li'l Be Your Mirror" - Same take as released version. Radically different mix. No echo on Nico's vocals. Background vocals on end of song are more subdued.
    5. "Heroin" - Completely different take than released version. Guitar line is different. Vocal inflections are different, and a few different lyrics. Drumming is more primitive & off kilter. There is a tambourine dragging throughout.
    6. "Femme Fatale" - Same take as released version. Radically different mix. Percussion more prominent. Alternate take on background vocals.
    7. "Venus In Furs" - Different take than released version. Vocal inflections completely different. Instrumentation more based around Cales' violin than the guitar, as in the released version.
    8. "I'm Waiting For The Man" - Different take than released version. Guitar line is completely different. Vocal inflections different, and a few different lyrics. No drums, just tambourine. Bluesy solo.
    9. "Run Run Run" - Same take as released version. Different mix.
    Condition: Check extended description on line at HA.com.


    More Information:

    Performer: Velvet Underground .
    Title: Though recorded at Scepter Studios in New York in only about ten hours during April of 1966, this untitled and for-decades unreleased acetate disc was intended by Andy Warhol to be the finished recording for a proposed first Velvet Underground album. Over the next month, Warhol shopped the acetate as a finished recording to record labels, but was turned down, and in one notable case, ridiculed.  Most of the music of this acetate, recorded at Scepter Studios, would not see release as such, but a partially reworked version of this material with different takes, different mixes, and some subsequently recorded alternative versions would become the groups eponymous debut on record; the groundbreaking Velvet Underground and Nico released on Verve almost a year later.
    Label Information: Norman Dolph's handwritten acetate labels from Columbia Studios.
    Country Of Pressing: US  .
    Jacket Condition: custom jackets were not made for this disc .
    Disc Condition: Visual: VG-   Surface scratches on both sides. Aural: VG-. There is surface noise which is fairly consistent throughout the LP.  It is most dense during the first two tracks. The main flaws are a skip about 35 seconds into the first song (European son), & a skip about 10 seconds into the eighth song (I'm Waiting for the man). Pro-tools could smooth out the skip on the eighth song fairly easily, but the skip on the first track may prove a bit more difficult. 
    Comments: see below for elaborate notes about this record and some history of its recovery from oblivion in 2006. The photos in this auction were newly captured in December of 2014.



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    Auction Info

    Auction Dates
    September, 2015
    19th-20th Saturday-Sunday
    Bids + Registered Phone Bidders: 2
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